Stepping Out

Most of the dancing in Steven Dexter's production of Richard Harris's
1984 comedy is dire, absolutely terrible. But that's exactly what the
director intended.

Dexter didn't want to spend too much rehearsal time teaching the cast
to tap dance - so he chose accomplished performers who could act as
though they had two left feet. He likened it to the way the comedian
Les Dawson had to be a talented pianist before he could play badly.

The result is a funny, slick show which leaves you with a warm glow
and should get full houses throughout its run.

Stepping Out, set in a church hall, catalogues the complicated
lives of seven women, one man, their teacher and pianist at a weekly
tap-dancing class. The stakes are raised when the Mavis Turner Tappers
are asked to take part in a charity gala, so somehow they have to raise
their game to do themselves justice in their first public performance.

Dexter decided to set Stepping Out in the '80s rather than updating
it to the present. His production is full of legwarmers, lycra and leotards,
rekindling memories of an age when people interacted face to face rather
than through "social" websites.

In recent times the Playhouse has been able to attract an amazing array
of talent up the M1 to Derby. The cast of Stepping Out is no
exception.

Anita Louise Combe, who's played both Velma Kelly and Roxy Hart in
Chicago in the West End, does a fine job as Mavis, consistently
trying to keep her class focussed on their dancing as well as having
to cope with their personal problems.

Rosemary Ashe who was in the original casts of Mary Poppins
and The Phantom of the Opera is a delight as Mrs Fraser, the
cantankerous pianist who feels undervalued.

Flik Swan, another former Velma in Chicago, evokes sympathy
as Andy, lacking in self esteem because she's in a violent relationship;
Sophie-Louise Dann is deliciously over the top as pseudo-posh Vera;
Suzie Chard has played the part of Sylvia before and is very comfortable
as the common woman who opens her mouth before she's thought about what
she's going to say; and Joanne Redman impresses as excitable yet nervous
Dorothy.

Michael Cahill has the distinction of being the only man in the cast.
He finds his feet as slightly geeky Geoffrey whose tracksuit bottoms
are stuffed firmly into his red socks and whose timing is laughably
out of step.

Any slight problems you may have with Stepping Out are down
to the author rather than the cast or production team.

For instance, we never get to find out why a dancer as talented as
Mavis is running a class (and presumably making little money) in a draughty,
soulless church hall. And it's almost inconceivable that Vera should
clean the toilets as well as mixing with those she believes are beneath
her.

Having ten characters in the production means there's little time to
develop all the individual personalities and the playwright is unable
to delve too deeply into the tappers' dysfunctional lives.

The cast, though, do a tremendous job, bringing all the characters
to life and making them as credible as possible.

Designer Francis O'Connor makes full use of the Playhouse's revolving
stage with a stunning set, allowing us to see what goes on in the church
hall, outside and even in the toilets.

Stepping Out is primarily a show for women although men will
also get immense enjoyment out of it. When Vera bluntly tells Sylv,
"I used to be fat, you know" there's an uproarious reaction
from the women in the audience at this catty remark.

The finale, which allows the cast to exhibit their dancing talents
to the full, is a joy and vindicates Dexter's decision to go for accomplished
dancers.